Monday, December 28, 2009
Sunday, December 20, 2009
Tuesday, December 15, 2009
Thursday, December 10, 2009
Doctors visit often.
Insist your mind is too excited.
They warn—imagination a danger.
Confine you to bed.
The curtains are drawn shut.
Shadows creep into empty corners.
You no longer trust the darkness.
Keep one eye open, scanning
the invading night.
The walls are advancing.
You hear them whispering strategies, plotting
the deployment of chairs, the hostile
take-over of the window.
Feel the dresser’s encroachment,
when you’re not looking.
the walls entomb you.
You toss, try to free yourself,
swaddled in crisp white sheets.
Beata Beatrix, Dante Gabriel Rossetti, 1864-1870.
He chose you as his favorite model,
made you both mistress and student.
For hours you sat motionless,
the feeling in your arms gone dead,
while he drew you thin and pale,
with hands and mouth curled shut
like a bud not yet bloomed.
The illness that kept you weak, withdrawn
into darkened rooms with blinds snapped shut,
did not affect your splendour. The dove
places a poppy in your hands. Your hair,
an ecstatic red.
He told you
you looked most beautiful while sleeping,
painted you languid and heavy-lidded,
as if your eyes had nothing to say
except when mirroring his own.
When you died, he declared
his muse forever lost. As the coffin’s lid
lowered, he tucked a manuscript
between cheek and hair. A dramatic
gesture, befitting the first Dante.
Seven years later, he regretted this impulse.
At his command, a bonfire was lit, your corpse
exhumed — hair rumoured to fill the coffin,
rubescent and coiling.
His manuscript now removed. Each page
disinfected. The stench of alcohol
dissipating as pages flap wet
on a line. Still, his soggy poems
cannot be deciphered.
Ink smudged, as if
by a wet thumb.
Friday, November 20, 2009
Saturday, October 31, 2009
Friday, October 30, 2009
Tuesday, October 20, 2009
Miranda Pearson’s latest collection of poetry, Harbour, looks at ways humans are driven to construct territory in whatever space is available, however borrowed or makeshift. Moving from
hospitals to museums, the poems explore the tensions between antiquity and modernity, and how we collect and display artifacts. The poems illuminate the human drive to nest, gathering together ideas on how we seek refuge, a sanctuary, a keep. How we harbour.
Chivana Restaurant Lounge
2340 West 4th Avenue
32 Books will be selling.
Tuesday, October 6, 2009
Kids love Eanie Meanie but hate zucchini. A book launch will be held October 17th at 2 pm at the LaSalle Public Library (5940 Malden Road, LaSalle, ON.). Books will be available for purchase and signing by the author Arnot McCallum.
Friday, October 2, 2009
Thursday October 15th, 2009
8 - 10 pm
2539 Agricola St.
Thursday, September 24, 2009
Tuesday, September 8, 2009
Sunday, September 6, 2009
Tuesday, September 1, 2009
WED SEPT 30 Acadia University at 7 pm, KC Irving Centre Auditorium, Acadia University, 32 University Avenue, Wolfville, NS (902) 585-1111.
THURS OCT 1 (Senior Common Room, King's College; King's College Bookstore selling.) 6350 Coburg Road, Halifax – 902-422-1271
SAT OCT 3rd to 4th UNB Poetry Weekend 11:00 am event starts. Fredericton,
Sunday, June 28, 2009
Friday, June 26, 2009
Thursday, June 25, 2009
The editors ask “Canada is known for its wild and diverse physical geography. But do Canadians have a spiritual geography, an identity uniquely shaped by our land, history and people? This first-of-a-kind collection brings together writings from within the Christian heritage to help Canadians explore that question.”
Wednesday, June 24, 2009
Friday, June 5, 2009
Q: What inspired you to write this book? Why did you choose to use the essay form instead of poetry, since you have already written a great deal of ekphrastic poetry?
A: I’m fascinated by all the ways there are to write about art, to approach painting, to translate pictures, what we see, into words. So in many ways this was a natural progression, the move from poetry into prose. I had been reading a lot of travel writing beforehand, and I remember feeling very unsettled and wanting to reconcile this with the circumstances of my life, and also this desire to learn to be alone in my room, to sink into that, to learn how to be present in exactly the place I found myself. A good friend had travelled to Africa and had begun writing some excellent essays (A.S. Woudstra) and I started wondering what would it be like to write travel essays about home. Just looking at things with the fresh and curious eyes of a traveller.
As luck would have it, I had written one essay the summer before I began grad school at the U of A. I had signed up for Greg Hollingshead’s graduate seminar in creative writing fully intending to write short stories. Most of the people did write short stories but he was very open to the essay form, and encouraging. I remember him saying, ‘this is great material.’ The book really started in that class, then – my confidence in the possibility of writing a collection of essays came from that experience.
Q: What, if anything, do you feel distinguishes the personal essay as a genre?
A: I think it’s another possible mode of telling truths. The genre draws on other genres – poetry, fiction, journalism or reportage, and so for me, it’s the openness to these permutations, the possibilities inherent in the form, that distinguish it.
Q: What was the biggest challenge you encountered in completing this book?
A: There is some pressure, when you begin shopping your book around to publishers to revise the entire work, the single essays, into one larger book with a narrative arc. Originally the book had included essays on other subjects besides still life, and though I couldn’t envision the book as a single piece, I could see the sense in narrowing it to only those essays about still life. It was very difficult to excise those essays, but I’m glad I did, because one of them has turned into a much larger piece that I’ve been working on in the several years since.
Q: What was the greatest reward?
A: There have been many! Having written poetry for so long, my writing community is filled with wonderful poets – but the essays have also introduced me to others in the community that I might otherwise not have met.
I had long been interested in the idea of writing a short book, and had read an essay by Kristjana Gunnars on the topic in her book Stranger at the Door which solidified this yearning. There was a time in my life, when my daughter was young, that I sought out short books. Anything else seemed extravagant. So there was some pleasure in having accomplished this small feat without really setting out to do it.
Another reward is hearing so many people say that after they read the book they were inspired to paint or write, or head back to the studio...
Read the whole interview at Http://susanolding.com/site/interview-with-shawna-lemay/
Sunday, May 24, 2009
In 1977 Kate Braid got her first job in construction as a labourer on a small island off the coast of British Columbia. Never in her wildest dreams did she plan to be a construction worker, much less a carpenter, but she was desperate to stay on the island and had run out of money, along with all the options a woman usually has for work—secretary, waitress, receptionist. Turning Left to the Ladies is an autobiographical account of the fifteen years she worked as a labourer, apprentice and journey carpenter, building houses, high rises and bridges. She was the first female member of the Vancouver local of the Carpenter's Union and the first full-time woman teaching trades at the BC Institute of Technology. Turning Left to the Ladies is a wry, sometimes humorous, sometimes meditative look at one woman’s relationship to her craft, and the people she met along the way.
Kate Braid’s previous books include Covering Rough Ground, which won the Pat Lowther Award, To This Cedar Fountain, nominated for the BC Poetry Book Prize, Inward to the Bones: Georgia O'Keeffe's Journey with Emily Carr, winner of the Vancity Book Prize, and A Well-Mannered Storm: The Glenn Gould Poems. With poet Sandy Shreve she edited In Fine Form: The Canadian Anthology of Form Poetry.
Thursday, June 18th at 7 pm
445 West 2nd Ave.
To access the parking lot, travel west along 2nd Ave, stay in the right hand lane and you’ll find the entrance just past the building.
Wednesday, May 20, 2009
Friday, May 15, 2009
Saturday, May 2, 2009
Friday, May 1, 2009
Tuesday, April 21, 2009
Saturday, April 18, 2009
Tuesday, April 14, 2009
Sunday, April 12, 2009
Saturday, April 11, 2009
Friday, April 3, 2009
"In part a consideration of the mysterious life of objects, in part a meditation on the art of still life, in part a love song to her husband, visual artist Robert Lemay, and in part a reflection on the craft of poetry, this is a book in the tradition of Rilke's Letters on Cezanne. A writer looks deeply at paintings, and in the exercise of her deep attention, she learns and teaches as much about the art of writing as she does about the art of painting. It is a book about one art form that guides a reader towards a deeper understanding of all art forms. It is a book that both embodies and instructs us on the need for, and place of, loving attention and receptivity in our over-crowded, jangling lives."
You can read the entire review at www.prairiefire.ca.
Saturday, March 21, 2009
Thursday, March 12, 2009
Friday, March 6, 2009
The Vandercook Proof Press Celebrates Its 100th Birthday (1909-2009)
March 24 - May 31, 2009
On view are diverse folios from "The Vandercook Book," a limited edition artists' book published by Barbara Henry and Roni Gross to celebrate the centennial of the Vandercook Proof Press. Originally designed for commercial use, the Vandercook Proof Press has developed into a versatile and experimental printmaking medium used by artists. Techniques employed in the folios include pressure printing, sandragraph, lino cut, polymer plate printing, handset type, linoleum cut, die cut and wood cut, among others.
"Rules for Printers" is a linoleum cut by Mare Blocker.
The Kohler Art Library regularly exhibits materials from its collections, such as artist books and illuminated manuscript facsimiles.
Address: 800 University Avenue. Madison, WI. 53706
Phone: (608) 263-2258
Tuesday, February 17, 2009
Friday, February 13, 2009
And of course, nothing says 'lovin like a boy and his wrench. If the boy didn't have those apple cheeks and Richie Cunningham hair, it would almost seem threatening.